4YearGraduate said:Bass Purity
First proposed by Dr. Thomas Delay as a sidenote to an academic study in the existence of bells and coined by Dr. Magpaul of the Strut Institute, Bass Purity is the scale of which determines real bass notes generated by players as opposed to electronically synthesized waveforms. It is measured in units by the Sayer (Syr), which also has a heat coefficient.
Examples
SYR Units
160,000 (Dennis Coffey, Scorpio)
100,000 (James Brown, Big Payback)
80,000 (Steely Dan, Peg)
40,000 (Pete Rock, TROY)
10,000 (Dr. Dre, G Thang)
2,000 (Dead Pres, Hip Hop)
1,000 (Switched on Moog, Aquarius)
100 (Big Bear, Doin' thangz)
While the existence of Bass Purity is often hotly debated as a necessity for golden era hip hop, such broad statements undoubtedly call in to question both the historical and critical existence of a golden age. For now, the SYR continues to measure both the realness of the bass and the heat it generates as it plays.
?? / ?? ?? = SYR
Of course not to be confused with the euphemism, Pure Bass, which characterizes the tonal quality of the low end of Funk 45s that many people describe as touching their souls and loosening their spines. The evolution of speaker design was spurred toward tight, tiny tweeters and huge, elastic woofers. The better to transmute the long waveforms of high peaks and low valleys off obscure Soul records pressed in the late 60's and early '70's.
Although predicted by the standard model of Funk, first imagined by Dr. James Brown in 1964, the optimal method of execution was not perfected until after many experiments, having reached a crescendo in the late 70's where the technology was understood and undertaken by many, confirming the therapeutic effects on humanity for many a generation to come. Now widely copied and disseminated throughout the present genres of music, many of which to that point had yet to evolve; Pure Bass, as a fundamental property of the Sound Universe, raises as many hopes in mortals as questions of moral purpose of the artists of sample based hip hop and electronica in the 1990's and beyond. Is it okay to loop a human-strummed fat bass groove with subtle timing shifts incapable of replication by a synthesized electronic instrument, then add lyrics and declare oneself a genius or showstopper? Or can one human life absorb the total product of the OG's (originalis ganstarus) species, unearthed by diggers and re-grooved for comps and lps by private record labels or posted for exposure on the interwebs for other humans to delight in, in this fundamental particle of the Sound Universe?
These issues polarize the Scientific Bass Community into two camps: the Standard Model and the Quantum Soul Mechanics. While the Standard Model explains the mechanization of sound wave propagation and thus the expected enjoyment of the human brain through Newtonian equations that have been known for close to 400 years, after much scrutiny, it is has now been shown that this theory is solid but incomplete in the quantum realm. In other words, in the world of the really small, the details of the notes and sounds that are necessary to, but indiscernible from the aggregated pure bass of a sound wave are still and well capable of inducing human euphoria. Further distortions in this understanding come from the late Dr Heissenberg's Uncertainty principle, which states that the more accurately one can measure the badassed-ness of a particular bass line the less precise one becomes in the prophetic later use of said bass line in Golden-Age Hip Hop production and other sample-based artforms.
It is both unknowable and surprising about the parts of a record that a skilled producer will recognize and exploit to both amplify his riff and revenue whilst attempting to hide the source record from the public record. The hope of future Pure Bass scientists is to be able to combine these two theories from Pure Bass Research: the Standard Model and the Quantum Soul Mechanics, into a TOE (theory of everything). Future life and progress of Humanity hangs precariously in the balance.
